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.......It Seems To Me

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"...It Seems to Me..."
by
Steve H Kehoe
A Broadway-style musical that falls short of its ultimate potential is a rara avis (rare bird) indeed. Alas, such is the case with the powerful and moving British-conceived 1984 musical, "Chess". Written by Tim Rice, with a later collaboration during its revival stage with Sir Hugh Wooldridge, this magnificent spectacle, like an 800-pound Gorilla, literally cries out and demands its presence on the dramatic stage. Inspired and written by Benny Andersson & Bjorn Ulvaeus of "Abba" fame, the powerful lyrics and commanding melodies literally wrap the audience into a fuller dimension of enjoyment not found in most musicals of any stripe. The subject matter, of great importance and impact at the time it was written (1984), has unfortunately been "neutered" somewhat by the fall of the U.S.S.R. in 1991, preceded by the destruction of the hated Berlin Wall two years prior. These events effectively put an end to the 45-year "Cold War" that had existed since the end of World War II between the East and West. Therefore, the subject matter of this great play had become-just five to seven years after its having been artistically conceived-a "period piece"-all well and good, but critical judgment de facto had rendered a verdict somewhat short of matching Chess's powerful, beautifully-told story. Those who remember the tension of those times will easily relate to the story.
The Arbiter sets the tone for the upcoming battle of Chess giants:

"I've a duty as the Referee-
at the start of the match.
On behalf of all our sponsors, I must welcome you-
Which I do-
There's a catch!
This is not the kind of thing
That we've seen in the past:
Chanting Gurus, walkie-talkies, walk-outs, hypnotists, tempers, fists,
None of that!
This is not the start of World War Three,
No political ploys.
I think both your Constitutions are terrific,
So now you know! Be good boys!
"I'm on the case, can't be fooled.
Any objection is over-ruled!
Oh, I'm the Arbiter, I know the Score.
From Square One I'll be watching all...
Sixty-Four!"
The setting for the story is the year 1979. The subject is the international battle between the reigning Chess champion, Frederick Trumper, who happens to be an American, ironically dressed all in white-usually reserved for "the good guys"- with a bad temper and little tolerance for criticism, even from his own camp, headed by his personal aide, Florence Vassay, a gorgeous expatriate Hungarian. Young, vibrant challenger Anatoly Sergievsky, played in the 2008 revival presentation by the incomparable Josh Groban, is presented in Act One as the "good guy" (albeit dressed in black). Despite her family having been victimized by the swift crushing of the Hungarian rebellion in Budapest in 1956, in which her father had disappeared, soloist Idina Menzel's * character (Florence) becomes attracted to the soft and gentle persona of her employer's rival, the Russian challenger. Act One is beautifully set in the Italian province (an island, actually) of Merano, a resort of highest quality set against the magnificent backdrop of the Italian Alps. Having suffered the loss and betrayal of his beautiful and talented lover and "second", Florence Vassay, the U.S. champion, Frederick Trumper, becomes unglued, falling behind 5-1 to his Russian challenger. In a fit of pique, in the second game, the surprised Trumper suddenly throws the chess board and pieces to the floor. A television interview does little to restore his reputation, and Florence uses this as her cause celebre to split the sheets with Trumper at long last. Stung by this betrayal, he quickly sends a note to the Russian camp that he is forfeiting the last game (first one to six wins, wins) and storms away from the international scene, never to reappear. Along the way, Sergievsky defects to the West, leaving his family behind in Russia, and takes up with the smitten Florence as his lover and confidant.
The denouement of the play finds Chess Champion Sergievsky pitted against another Russian challenger, as he struggles through diplomatic channels to be re-united with his wife and child, who eventually visit the next Chess Championship site, Bangkok, Thailand. It is the popularity of the accompanying song back in 1984 ("One Night in Bangkok") that initially captivated this writer, as it rose high on the pop charts that year when I was actually in London, to see this magnificent "period piece". I'll not give away the ending. I will only share Producer Tim Rice's lament that here is a stage show of ultimate grandeur, which fell victim to many obstacles, not the least of which was an change of director at the very last minute back in '84, which resulted in the actors giving a confused performance under the new visage of the director. The addition of several new songs, plus the staff "fighting like ferrets in a sack of gold", to use Tim Rice's own description, caused the show to not achieve pure potential. It ran at the Prince Edward Theatre from 1984-86 and managed to recoup the four million English pounds expense, but little above that. Subsequently sent to Broadway in 1989, with a slew of new actors, performers, songs, and even story line, it ran for a mere eight weeks on the Great White Way. But the songs were of such quality and import that the show "refused to die". Actors and soloists literally lined up to audition for parts, and the directors then felt that they could "put up with" the confusion of plot and story arcs. Rice goes on to say, as part of an apologistic mea culpa, that the story line(s) were "wretchedly complex", and it goes without saying that the play "stayed too long at the Faire"-meaning that the production-especially Act Two-could have been mercifully shortened. Josh Brogan and Idina Menzel, along with soloist Marti Pellow as The Arbiter (my favorite part!) were crystalline shining jewels in the 2008 recorded video concert, surpassing even the originals, including the incomparable Elaine Page, performing as Florence. Her British heritage is reflected in singing words with broad accents, like "cahst", "lahst" and "fahst"; beautifully done, and at least equal to the later style of Ms. Menzel.
Creator Tim Rice, along with chief musical talents Bjorn Ulvaeus and Benny Anderson of "ABBA" fame (the group had ceased performing in late 1982), and the Swedish duo worked all through 1983 with Rice on the lyrics and melodies of the songs for the show), opted to follow the highly successful example of shows like "Jesus Christ, Superstar" & "Evita", by releasing a "concept album" containing the show's main tunes even before the first performance! Two songs in particular literally sprang, leaped and jumped to the near top of the charts both in England and the U.S.: "One Night In Bangkok" & "I Know Him So Well". World audiences then could hardly contain their enthusiasm, as they awaited the staging of the entire three-hour play! I myself remember, on a company trip to Houston, stopping at a local radio station, demanding to know where I could purchase "Bangkok"; only then did I become aware that it was merely one part of a musical which had yet to stage its first performance!
I am proud to own a copy of the revived (2008) show; it is excellent! The only criticism-and it is minor-is that it tends to run long: three hours, even with the 2008 video version. That, to me, is about one-third too long. It's kinda like eating chocolate cake: as good as it is, and as much as you don't want it to end, you realize it must! You probably can get yours as I did mine-on Amazon, for around $16. If you like, I will even loan you my copy to view, provided you sign a contract in blood to return it to me in good condition!

Steve H Kehoe This e-mail address is being protected from spambots. You need JavaScript enabled to view it
*Elaine Page appeared in the original stage version in 1984.